Something is quietly unfolding in Basel this June where Thomas Bangalter, one half of the most influential electronic music act of a generation and Rampa, the Keinemusik founder who has spent years operating at the sharpest end of Berlin’s house scene, are coming together for something that defies easy categorisation. “Warehouse Artefacts”, a large-scale immersive experience taking place at Art Basel 2026 on June 20th at Hall 1.1 South, Messe Basel, Switzerland.

The event will run from 18:00 to 23:00 and will feature a five-hour DJ set from Rampa. He will be playing alongside a yet-to-be-announced special guest. Presented by art.klub and produced by Nordstern Basel, the project brings together music and visual art through a large-scale installation. It is developed in co-operation with Art Basel and Fondation Beyeler.

What Do We Know About Warehouse Artefacts

Three names shape this project, and each one brings an entirely different creative world to the table.

Rampa being the first, who has built his reputation since 2009 through Keinemusik. His DIY cosmos that functions as both label and crew, with a catalogue spanning releases on Innervisions, Afterlife, Cocoon, Ninja Tunes and more. Growing up in Freiburg in Germany’s Black Forest before relocating to Berlin, Rampa’s productions push across house, techno and Afro-house. His philosophy is rooted in constant movement and creative restlessness. A five-hour set from him is already worth the trip to Switzerland on its own.

The visual dimension of the project belongs to Julian Charrière. The Swiss-French artist’s work explores the cultural and environmental histories embedded in natural landscapes, spanning film, sculpture, photography, and installation. His practice often involves fieldwork in ecologically and symbolically charged sites such as glaciers, volcanoes, nuclear test zones, and deep-sea ecosystems. Charrière studied under Olafur Eliasson at the Universität der Künste in Berlin, graduating in 2013. His research-driven practice fuses art, science, and anthropology. His presence here confirms that Warehouse Artefacts is closer to being an exhibition than a concert. It promises sound and visual art to be operating on equal footing.

Bangalter’s Return: A Story Worth Following

It’s Bangalter’s involvement is what makes this announcement remarkable. Since Daft Punk’s split in 2021, Bangalter has scored several projects but had largely withdrawn from public performance. That changed in October 2025, when he appeared at Paris’ Centre Pompidou alongside Fred again.., Erol Alkan and Busy P. This was for Because Music’s 20th anniversary party, his first maskless set in 24 years. As Fred again.. wrote afterwards: “Thomas told me he hasn’t played a proper set without the mask on for 24 years. I didn’t know what to say to either of those things and I still don’t.

That was the beginning. Bangalter then joined Fred again.. for the grand finale of his “USB002” tour at London’s Alexandra Palace — his second live appearance in nearly 20 years. This was a set that the pair spent an entire week in the studio preparing for. The resulting performance blended Daft Punk’s “One More Time,” Fred’s “Marea (We’ve Lost Dancing),” and house and techno touchstones from across four decades. The video is now available to stream on YouTube.

Warehouse Artefacts now marks the next step in what appears to be a deliberate re-emergence from one of electronic music’s most iconic figures. This time in a context that speaks directly to the artistic ambitions he has pursued since stepping away from Daft Punk.

Details beyond the core concept remain limited. May be entirely by design for an event built around immersion and atmosphere rather than conventional spectacle.

Pre-registration for Warehouse Artefacts with Thomas Bangalter, Rampa and Julian Charrière at Art Basel is open now. Register here.